This play has been imitated by Ludovico Dolce, in his comedy _Il Ruffiano_, which was published in 1560, and which, the author says in his prologue, was “_vestita di habito antico, e ridrizzato alla forma moderna_.” The _Ruffiano_ is not a mere translation from the Latin: the language and names are altered, and the scenes frequently transposed. There is likewise introduced the additional character of the old man Lucretio, father to the lover; also his lying valet Tagliacozzo, and his jealous wife Simona. Lucretio comes from Venice to the town where the scene of the play is laid, to recover a son who had left home in quest of a girl in the possession of Secco the Ruffiano. The first act is occupied with the details of Lucretio’s family misfortunes, and it is only in the commencement of the second act that the shipwreck and escape of the damsels are introduced, so that the play opens in a way by no means so interesting and picturesque as the _Rudens_ of Plautus. The women having taken refuge in a church, Lucretio offers them shelter in his own house, which exposes them to the rage of his jealous wife Simona. By the assistance, however, of one of these girls, he discovers his lost son, who was her lover; and the recognition of the damsel herself as daughter of Isidoro, who corresponds to the Dæmones of Plautus, is then brought about in the same manner as in the Latin original, and gives rise to the same tedious and selfish disputes among the inferior characters. Madame Riccoboni has also employed the _Rudens_ in her comedy _Le Naufrage_. _Stichus_—is so called from a slave, who is a principal character in the comedy. The subject is the continued determination of two ladies to persist in their constancy to their husbands, who, from their long absence, without having been heard of, were generally supposed to be dead. In this resolution they remain firm, in spite of the urgency of their fathers to make them enter into second marriages, till at length their conjugal fidelity is rewarded by the safe arrival of their consorts. It would appear that Plautus had not found this subject sufficient to form a complete play; he has accordingly filled up the comic part of the drama with the carousal of Stichus and his fellow slaves, and the stratagems of the parasite Gelasimus, in order to be invited to the entertainments which the husbands prepared in honour of their return.